The Railway Viaduct

'Ah,' said Colbeck, jabbing a finger at the man in the centre of the painting. 'This is where I got it wrong. He's wearing a jacket.'

'And a pair of shoes,' added Hooper.

'Are you absolutely sure that was the case?'

'That's the kind of detail an artist doesn't miss. The shoes were gleaming. They caught the sun as he plummeted down. They're only minute in the painting, of course, but, if you look closely, you'll see that the shoes are definitely there.'

'They are indeed.'

'I'm a stickler for precision.'

'This is remarkable, Mr Hooper,' said Colbeck, shaking him warmly by the hand. 'I can't thank you enough.'

'We also serve who only stand and paint.'

'You've made our job so much easier. What a blessing that you happened to be in the right place at the right time!'

'I have a habit of doing that, Inspector. At first, I used to put it down to coincidence but I've come round to the view that I'm an agent of divine purpose. God wanted me to bear witness. I daresay it was also true of Aunt Petronella but she was unequal to the challenge.' He looked at the tiny figure of the murder victim. 'What I'd like to know is how he brought off that wonderful conjuring trick.'

'Conjuring trick?'

'Yes,' said Hooper. 'When he left the train, he was wearing a jacket and a pair of shoes. How did he get rid of them by the time that the police arrived on the scene?'

'There's no mystery there,' said Colbeck with a wry smile.

'No?'

'He clearly had some assistance.'

Victor Leeming talked to every member of staff he could find at the station. By the time he finished, he felt that he had spoken to half the population of Manchester and all to no avail. Ticket clerks, porters, the stationmaster, his assistants, the engine driver, the fireman, even those who sold newspapers at Victoria Station were asked if they had seen anyone suspicious around the same time on the previous day. In effect, they had all given him the same answer – that it was difficult to pick out any one person from the sea of faces that passed in front of them. Least helpful of all had been the guard in charge of the train on which the murder had occurred. His name was Cyril Dear, a short, skinny, animated individual in his fifties who was highly offended even to be approached by the detective. As he talked to him, his hands were gesticulating madly as if he were trying without success to juggle seven invisible balls in the air.

'I saw nobody getting into the last carriage, Sergeant,' he said. 'I've got better things to do than to take note of where every passenger sits. Do you know what being a guard means?'

'Yes,' said Leeming. 'It means that you have responsibilities.'

'Many responsibilities.'

'One of which is to ensure the safety of your passengers.'

'And that's what I do, Sergeant.'

'It must entail being especially vigilant.'

'I am especially vigilant,' retorted Dear, hands now juggling five additional balls. 'I defy any man to say that I'm not. I see things that most people would never notice in a hundred years.'

'Yet you are still quite unable to tell me who occupied the last carriage yesterday morning. Think back, sir,' encouraged Leeming, stifling a monstrous yawn. 'When the train was filling up, what did you observe?'

'What I observe every day – paying passengers.'

'Did none of them stand out?'

'Not that I recall.'

'This is very serious,' said Leeming, as people surged past him to walk down the platform. 'A man who travelled on this same train only twenty-four hours ago was murdered in cold blood then flung over the Sankey Viaduct.'

'I know that.'

'We simply must catch his killer.'

'Well, don't look at me, Sergeant,' said Dear, as if he had just been accused of the crime. 'I have an unblemished record of service on this line. I worked on it when it was the Liverpool and Manchester Railway, all of twenty-two years ago. Cyril Dear's name is a byword for loyalty. Speak to anyone. They'll tell you.'

Leeming groaned inwardly 'I have no wish to talk to another human being in Manchester,' he said, ruefully. 'My throat is sore enough already. Very well, Mr Dear. You are obviously unable to help me at the moment. But if you should happen to remember anything of interest about yesterday's journey – anything at all – please let me know when we reach Liverpool.'

'Climb aboard, sir. We leave in two minutes.'

'Good.'

Leeming had turned to get into the last carriage, only to find, to his dismay, that it was already full. Men and women had taken every available seat. With a sinking feeling, he realised why. Manchester newspapers had carried full details of the murder as well. Ghoulish curiosity had dictated where some of the passengers sat. They wanted to be in the very carriage where it was believed the crime had been committed. As it passed over the Sankey Viaduct, they would no doubt all rush to the appropriate window in a body to look out over the parapet. He found it a depressing insight into human nature.

Colbeck had instructed him to travel in the last carriage. Since he could not obey the order, he decided to solve another problem that had vexed them. He swung round to face Cyril Dear again and asserted his authority.

'I'll travel in the guard's van with you,' he declared.

Dear was outraged. 'It's against the rules.'

'Is it?'

'I could never allow it, sir.'

'But you're not allowing it, Mr Dear. I'm forcing myself upon you.' He summoned up his most disarming smile. 'When we reach Liverpool, you'll have the pleasure of reporting me, won't you?'

When he was angry, the freckles on Inspector Heyford's face stood out more than ever. As he stared at the painting, they seemed to glow with a rich intensity. He turned to confront Ambrose Hooper.

'Concealing evidence is a crime,' he warned.

'But I haven't concealed it,' argued the artist. 'I've brought it to you. There it lies, for all to see.'

'A day late.'

'I can see that you are no painter, Inspector Heyford.'

'I prefer to do an honest job sir.'

'Art cannot be rushed. I had to finish the watercolour before I presented it to the public. I have my reputation to consider.'

'It remains intact,' Colbeck assured him.

'There is still the question of delay,' insisted Heyford. 'You were a witness, Mr Hooper. Yet you sneaked away from the scene of the crime. Action should be taken against you.'

'Then it should also be taken against Mrs Lewthwaite, her son and her unmarried sister, Miss Petronella Snark. They had just as good a view of the whole thing as me.'

Heyford gaped. 'Who on earth are these people?'

'I'll explain later, Inspector,' said Colbeck. 'The fact of the matter is that Mr Hooper has shown us crucial evidence that may help us to identify the dead man.'

'How?'

'He had an expensive tailor. I could see that from his trousers. In all likelihood, the name of that tailor will be sewn inside his jacket.'

'But we do not have his jacket, Inspector Colbeck.'

'We will do in due course. As for Mr Hooper, the only action that should be taken is to commend his skill as an artist and to thank him for his assistance.' He closed the portfolio. 'It's been invaluable, sir.'

'It's the least I could do for the victim,' said Hooper, tying up the ribbon. 'His loss was, after all, my gain. Like any true artist, I paint out of a compulsion but there is, alas, a commercial aspect to my work as well. As a result of the publicity surrounding this crime, my painting will fetch a much higher price.'

Heyford was scandalised. 'It should not be allowed.'

'It should,' said Colbeck. 'You deserve every penny, sir.'

Since they were in Heyford's office, Colbeck felt an obligation to let him see the painting even though the inspector did not appreciate either its quality or its significance. When the artist had left, Colbeck tried to mollify Heyford by praising the way that he had deployed his men at the railway station. The freckles slowly lost their glint though they did flare up again when Colbeck told him how Petronella Snark and her companions had come by their names.